 Cool, so hello everybody. I'm Vince and that's Julian. I don't know if for those Who have been last year and lack and the years before and grads and Castro I've been playing at the Linux sound night with my band. It was the cello thing with Electronic music and This year I Reset up all the the setup actually and I want to show you that First and then we will go on to the heart of the of this setup actually that's superbook. It's Written by Vaughan Pui. He's not here in France, but you run an eye we Add some really really interesting features for life and Yeah, maybe I just start Yeah, so it's the the ID now is for for playback only so we are not going to record and I don't know if you know something like this view and some hardware stuff like this so You can put some clips on it Here and you can play them and they are synced all together It's it's very similar to like what Harry I think was like before like you just bind the clips to the Pads there, right? Exactly So maybe I just start with a song and I explain what I'm doing So I think it's the best the best way So, I don't know if some music are coming Okay, so you can see what's happening so that's superbook and We will go on later and explain more on this That's the heart it's for the arranging part so you can You can change on the fly the parts and The different parts of each instrument so the bass drum the bass and and all the things so all this stuff is going to color and Color is doing the mixing So and it's look quite complicated, but it's not and Everything happens here is for color for all the live mixing and this was the live arranging so I will say so for example The drums so I arranged that like this so I've got the bass the hi-hat just near The real bass it was a kick and so on So basically the Instruments are on the columns and on the rows. There's different variations so like if you think in terms of mute groups like before Harry introduced like the rows are mute groups More less. Yeah, so and that for the live mixing I've got here. So standard stuff like Here delay reverb and so on And then with that I can arrange something I can say, okay, I want to have the next part bring the slide down Individually some special things there for difference like We're only switching on the bass on the mini clock like And you can set individually the points where each clip but usually like in a simple setup It will all be on the same thing But you don't want to be you don't want to care about the timing yourself So you have time while performing performing to take care for I don't know modulating Filters and stuff like that. I go some special effect Switching effects a lot of them. I wrote them in fast so and put them as heavy to and And into Carla so for the mixing for example each Mixer strip is one for two So Yeah, and then I've got two special things I wrote yes If I understood that correctly a scene can be basically any Sub-selection of clips. Yeah, not just the the rows or something So that's the main difference and how do you configure these? you Do it and you record it like this and that's it. Okay, you say I want to have these I want to have to say actual state Okay, record it and then you can you bring a new scene you can give a name and It's there so I go on Yeah, I got two really interesting Applications I wrote in Faust and especially with the new the brand new media sync function from Stefan and So there are two things one is a Simple beat repeater actually so it's like you can just This one so you can You can change The length of the loop and like classical stuff you can do Trilets as well. So and the nice thing is Slightening here as I want I sent straight from Faust And then the second one is the cat sequencer. I call it. It's this guy here So and Actually, it's really easy. It's on the baseline for now and it's just start with the timeline and put kind of Step sequencer on it. It's not a step sequencer, but it's eight steps and you can just mute them. So if I got the base I Can change the base on the fly So you can just You can mute sub sequences as well So that's the wall setup actually so what I'm presenting now is on me the playback part that has tons of other stuff like with your shimmy and super looper with the keyboard and there's an analog synthesizer analog delay line and analog loop station it is synced with MIDI clock and everything is Rooted in color and stored in color and Mostly if I start color all the connections out there And yeah, and it's that's great. So it's really really nice because on the stage you can Just decide what to do if you have your parts and you can you are jungling with the parts You can see what the people The people like the parts and you can to really really How to say we've had so making music so just arranging mixing changing the baseline and doing some diversity stuff So That's it for now that's so maybe How much time we do we have now? Okay Maybe we go on super book a little bit more. So it has Now we do like this so You have a matrix of clips you can load samples with dragon drops actually You can hear are the Properties of each clip you can say the amount of beats. There is the clip and You can you prepare everything for your live session? But there were a lot of Really interesting things they were missing for the real-life performance and we implement them that with Julian would just Show them one is the playlist editor It's like you can just on double-click change the song so you are on the stage You don't need to go to the menu and open and look for a file somewhere That's really really handy They are the port manager so now you can Add as many parts as you like so there are means all your outputs Yep, because the idea is like you're only doing you're not doing a lot of signal processing or filters or whatever in In this piece. You're just doing the the whole Arrangement part so you what you want to be able to do is like do like all the all the other things with other check components or whatever and So we need multiple outputs and need those to be configurable. That's yeah, but you want to have like some So in that set up I've got eight stereo outputs. They are all going to Carla and mixed after Then We implement as well the mute groups. That was very interesting before with Harry and So these are only classical mute groups in the term that it's a group of clips and With the constraint that only one has or only one is allowed to be playing at a time So if I start this one So if I start this one this one will stop and this one as well, but it's already stopped That's it. So you can have a lot of clips and If you trigger one clip All the others will be mute. So especially with baseline or whatever if you have different parts You don't want to have two baselines at the same time and That's the concept of mute groups. You can put them there and Yes, and we have the scenes and I stole before The sins are just states of Whatever you did Just right now something maybe really nice. You say, okay, I record the scene and you call it later It's just a subset of the clips like that are available and the way it's in the way right now You can like only as soon as you say you want to be in a scene the whole global set is The global state is restored like all the scenes that are all the clips that are in the scene are Activated and the other ones are turned off Exactly so the best example would be you have a chorus and a verse and Maybe you want to have different parts from the verse in the chorus or Whatever, but at one point you want the real real chorus. So you can see and it's done And to come back real quickly to your question from before like that there is no internal way that Really like it's just a set of a subset of clips and the integrity is like you can just record those and in the state where like In some state where you're playing a subset of your clips will be active and then as soon as you say You You store the scene then it will be taken from the from the state of the program at the time So there is no more to it. All right So I think we are done with You're right like it's it's in it wasn't a very basic state like one year ago when Vince discovered the the program kind of or like he felt he found the github repo and He's like, okay, we need more things to to make it practical for him on stage So we started implementing those things over the last year But it's still like in a we're thinking a lot about like I don't have any any I don't know many people in the in the scene or who are actually performing So an interesting thing for me to know would be like what are interesting features? So I like we're maintaining a fork of the original thing and pushing things upstream and the state It's in right now. We have a lot of things in the issue tracker so I was going to present a little bit like ideas for features and it would be interesting to Talk about it like what what what you think would make most sense or or just doesn't or Concept wise So, yeah, right Let me find the slides Do you have any questions? Yes. Yeah, okay What language is it written in would be one question just out of curiosity and the other question is for Vince This matrix layout. Is it something that you're accustomed to or you need that for? Performance or is it because the hardware the launch pad hardware and stuff like that. It's like this or would you rather? go away from the matrix layout because I mean right now you have already you have almost the flexibility that You don't need the matrix anymore or maybe not I mean you still have a kind of organization into different instruments which are the columns if I got that right and So Is it essential for performance or I don't know I go away from it? I would go away from it, but I don't have any idea Well, it's really convenient because you can just say in my case I put up was all my base drums there or my hi-hats there and I know okay That's just the first and just the cello and yeah, I can It's convenient and it's go through through the line and then it will be mixed as oh, I've got them like this actually and so I know one line is one instrument and It's written in Python It's Python and Qt Qt Qt Are you also thinking of implementing live sampling? You know the yeah, you're using super looper and an analog looper, but it would be nice if it's integrated right it has it actually it does It does have recording features, but Vince is not using them. So we haven't been looking into those or how good they're working We never even tested them, but theoretically it does have that already. Yeah, so the first the first idea was to bring it to live on stage capable software, so and It has the recording facilities, but I Really didn't try them really and I use super looper because I know it but It's the next step actually it's looking if it's working or not if the recording Yeah, but for now we were deciding really to focus on like the performance part and and like think of of the samples as a black box that come from somewhere and they're already there and to optimize the the ways to interact with those devices and also I think like We're pretty much tied to the layout of this device with That's also the reason that you pick the software in the first place at some point because like it's a nice device Well the main I don't watch this microphone My mind my mind point is I don't want to Do something with computer on the stage because I don't have time to take the mouse and Looking for whatever and we need to be intuitive and Got the cello player is playing and something sometimes like one second changing That's the main point and it's the only software for now. I know for Linux which is we can do that so playing sample which is free and With the lightning of the with the feedback with the media feedback there, so that's really important. Otherwise, I couldn't use it Yeah, Vince. I'm just wondering Over here. Yeah for your super dirt project now has this flow with super book a completely replaced your old one with hydrogen Yeah, completely Yeah This is a program you're talking about the super bounce or what's it called? Tied only to the launch pad or so also these archive or Yeah, there's more devices with eight times a it was designed by by the main developer for the launch pad But actually works. I think with a lot of others. It's all depends of the specifications of the Of the hardware so which how many How many colors and stuff like that so To be more technical if that's interesting like it's designed with the the Or by the original author with this thing in mind But it has theoretically the possibility to like it has a sort of we haven't shown that a Device manager and it has a very nice feature for binding those Binding the media signals to the program actions like you can just for instance for the matrix You can just press some record button and then press them in a in a row and it will bind them accordingly and also if you if you If you start a new song It will allow you to adjust the number of or the size of the matrix It doesn't have to be square. It can be like any time well two-dimensional, but any numbers you can change the size of the matrix, so As you like probably you don't want too much because it doesn't fit on a screen more than eight is Unpractical in the state that it's right now at least on the screen wise But theoretically it is possible to do it with other devices, but it's very much optimized for for this one So like for instance the feedback it's it's sending I Can recall exactly, but it's like this device has built in software blinking so it's certain encoding that that allows the blinking part and like It would it doesn't it doesn't account for that in a way that like the software assumes in a way Okay, I can I can make the stuff I can make my output device blink. Yeah So it's hardware blinking and soft if your device does not allow for that. Well, okay I mean you can say something else you have another color or whatever to distinguish the signal It doesn't have to be blinking of course, but that's just the way it was designed So like it would somebody would have to try if it really works with another device nicely, but probably works best with this one that's the reason because I bought the The launch pad because of this software. So actually It was the other way around but I would be very interesting like Yeah, if somebody tried it with some other hardware as it would be really really nice if somebody are really interested in that and Testing with other hardware and maybe or implement themselves way of using other hardware or doing more Okay, but before I think I think we should at some point get to an end. So I would start talking very shortly about a couple of ideas. So First of all like for this While I'm talking about I will I will use the term sample just for an audio file and clip will be like what what is a super book all Rapper of the autofile including made a data like As you've noticed like the length of the sample It does not depend on the at the length of the clip does not depend on the length of the sample You have to or you can set it there like you can have an audio file That is I don't know way longer or like just a short click or a drum beat and But you can determine the the beat amount. That's what it's called currently and Yeah, all the all the other settings so that is a clip the audio file the naked audio file is a sample for Terms of talking about it for right now so then like this is kind of Cute little graph like what it's doing. It's it's Or just of the states that the clips can be in so once you're Like I'm using this hand symbol for you're pushing the Button and assume you're starting in the stopped state Once you you trigger it it will be in kind of a starting state so the hardware is supposed to be or that it's blinking Signaling that the next toggle point, which is a terminology that I'm using for like that Usually it will be the start of the next bar the Clip will be actually Playing back or start playing back and we will be in the playing state and the same for the stopping so the idea is it's it's basically theoretically independent for each clip so you can do like Like a basic use case would be okay. You have a song with a lot of shorter clips and maybe some Drum clip that would be long like I don't know four times the length and you have some fills that vary or something like that And you want it. Yeah, you want to you want this variation in there, but other other other clips Maybe yeah, you want to be able to change more quickly So yeah, like consider some some clip here with beat length for What is happening is Okay, I'm in the way of this Yeah When the clip is very short right now you have silence So like the use case will be some some drum Some kick maybe But it is also possible That you might want the silence not to be silenced but like but to automatically loop it But still be independently or independently you have this Length point where where you're toggling so like that could be one idea an option like Yeah to allow for the looping and Yeah, I hope that the pictures make might get clear enough like so also you see this independence Very nicely here like the the click clip length does not have to do anything or doesn't have to do anything with the beat length so it might be that there's some Whether it's wanted or not you just have the option, but I can't I can't exactly tell you use case, but Yeah so another thing is The this toggle concept like where where the point is where you want the program to be able to switch to the next clip It's kind of tied to the length of the beat The beat length of the clip so if we go back to that example of a long drum clip where You have a lot of variation maybe or some fills in there. You may be want to be able to Still say okay I want to switch to another drum clip because I'm in part B whatever and there's double bass or I don't know what But But the whole I don't know eight bars whatever you designed your clip to be for are not still over So you might want to be able to decouple the toggle point from the actual length of the playback So if you're doing nothing it would play back for Eight bars or whatever, but when you're switching you could be able to switch Sooner like that that could be interesting to add so you can like individually Specify the the toggling point and the length of the clip Okay, it's technical, but I don't know it's still I Hope I hope you can understand it. If not, please stop me so another thing is The the nut this concept of having an independent Well or having a put point where you push and the point where the clip switch being independent and the toggling point at some to some degree being tied to the MIDI clock or well is nice, but probably you also at some point want to have some indie or some some ability to actually Playback some sample immediately at and and yeah be not restricted to have to wait for the next thing So have something like I don't know some some sample I don't know what we would be a good good use case some scratch or whatever. Yeah, that that you want to be able to just immediately play back so that would be some Some other thing and there could also be variations of that like A monophonic version where you just yeah, you push and it's played back and if you push while it's being played back of your your purses just ignored and Yeah, just like like it's displayed on the on the bottom in the graphics Then you could also have some this monophonic version with some such stop behavior Okay, I also thought some other thing like You could allow for you could you could it make it be monophonic but still allow for Interrupting if you specify this toggle point and Then you could have some start stop behavior So when you push you start the sample when you push again, you stop it immediately and then finally you could have just okay Screw it. I'm just playing back whenever you're playing whenever pushing and it's just yeah so that is another thing and Then like I don't know another thing would be like You could want to play back a sequence of triggers So you just you just record Kind of on stage Okay, I want to I want to turn this clip on and next I want to turn this clip on and then I want to turn This group off or whatever So that that could be Some sort of feature so like at some point you're saying okay I'm recording right now with some record button then I'm doing three pushes and the program is memorizing them and Actually only memorizing the order of execution and I'm playing it back to the respective toggle points if you will and then Finally and this this is maybe related to what what Harry is also been talking about like more some More general view on on the concept of a group of clips But I'm not quite sure What other things there could be but the things that we were talking about were like well mute groups classical mute mute groups Then like a scene that we've already in there Which which is a group which should be started together at the at the same time But the way we have it right now It's it's a global scene in the sense that all the other Crips that are not in a scene or turned off which I mentioned earlier and then you could also have something like okay I'm individually having I have samples for drum sets for for cake for base whatever and then I could have a small local group of kick snare Hi-hat patterns that belong together and I want to be able to turn them on but not turn anything else off So so like just some sort of sub grouping of of clips that could be also Something and then yeah, okay. Well generally. Okay, you might want to have something like be independent and in terms of like what we were thinking about a use case was okay assume you have the classical mute group like you have some bass Some bass samples and then you have some piano samples, whatever and they're both in mute groups But you have something like okay one of those bass samples and one of those piano samples really don't go along very well Yeah, like they're all and all combinations. They're sounding nice, but you don't want to have Some some combination of bass and piano together because they're just not sounding nice let alone something like AP parts or harmonics like we're not even thinking about that, but you could just have like the requirement for More constraints, but you could realize that with multiple mute groups in a sense But I'm not sure if if like really decoupling on the The clip from from the whole group would make more sense But like so so I was thinking I don't know maybe somebody else can think of it So so you could like just make some tiny API like just some some interface for what groups can react on and Then implement those standard things and allow other people to do like just with a couple of lines of codes Right, right some custom group behavior or something like that. So those are actually basically the ideas then there's How are we on the time actually? No, it's quite late Yeah 39, okay, I think we're ten minutes over. So let's let's cut that short. So actually that's it if if somebody has Probably are all hungry now. I want to go food But if at some point somebody has ideas or right now questions about those features or ideas how like Things could be or concepts that could be better Yeah, we'd be happy Yeah Yeah, one idea that I've been missing from a lot of looping and similar programs is to have the you call it the toggle point I think to have that in in the past so like usually what happens you you link your toggle points to a certain beat length and If you then trigger it Slightly before the trigger point all is good But if you're then slightly too late, then it waits for a whole new period And it would be nice if you could make that configurable like maybe if I'm just a bit over Then consider it the last bit trigger point or maybe you could say if I'm within the first half So like I don't know you're recording a loop and you in the second half you decide oh shit I'm fucking up. I just want to use the first half and then you say stop and it knows hey We're not at the full Length am I making well at least I was thinking at least it would be nice to bypass the The behavior that the clip is waiting to the next bar So if you are straight too late, maybe with the shortcut or something just Unmuted yet the big question to me seems to be here like How do you want it to behave do one like some manual override where you control that okay now? I'm late, but I still want to change it. I want to ignore the The automatic thing that the program forces upon me or you could also be like okay If I'm like only that much late then I can automatically recognize it and still do it But that might also lead to some Unexpected like if somebody is used to like doing it very early. I don't know So so the question would be what would be the best way to approach it like rather some manual override or some Threshold that maybe in options is set up for the user or whatever Yeah, no, yeah, that last last was what I was thinking of like you can set it to be either if you're just a bit late start Start the thing earlier or you could set it like at the halfway point So if I'm if I start or stop in the first half Then it means I want it actually in the in the past to start and I if it's in the second half It's the normal behavior like those would be the two use cases I would find useful So there was a question on IRC just there can mute groups be nested so can one can mute group Control another set of mute groups and that actually influenced the clips That is interesting to be I'm not I Don't quite understand what the implication would be or how the behavior would be different from like assume that you have a couple of nested mute groups Maybe I'm being stupid right now, but like from what I was thinking of a regular mute group The behavior would simply be like, okay I am uni unifying all those nested and then it's the same What what is the difference? Okay, we just go on with the next question and you come back to us So currently you trigger clips audio clips. Are you considering triggering? effects for example specialization effects or transformations also Well, you are triggering Meady actually so you can as well You can can go out of Superbook and do whatever you want With me. So if you have a plug in So hi, I understand what we're not we're not Controlling effects with Superbook all itself. So that that's If you if you consider the setup that Vince is using he's like we got like eight outputs out of Superbook Oh, they're going in In some in color in to wherever I don't know I do or if you like to record whatever and then at that point those those are Usually also MIDI controllable. So the current controlling of effects The way the setup works right now is handled there and we haven't really been thinking a lot about integrating this or yeah, but yeah But you can do really nice things like you can just record on a MIDI track your performance With good tractor or do or whatever and just play it back and it will work You can go and have a beer So there was no follow-up from IRC yet, but fuck. Yes, how often is Carla crashed so far? Sorry, how often has Carla crashed so far? It has never crashed now on the stage Sometimes it doesn't work with With the external media hardware, or I don't know that the connections are lost. I don't know really why But mostly it works Actually, yeah About the topic the total point being in the past how about doing it with a really hard velocity So if you really missed it and you really want to have it there, just did it very hard. Yeah This could be a really nice gimmick. Yeah, I think that's a very very good idea The problem with the current setup that Vince is using right now. I don't think that the device is sensitive to No, they aren't velocity, but you can you can Vaupui the main developer Implement the functionality of velocity sensitive And yeah, for example, so it is implemented now in superbook. So it can use I haven't tried it now I'm not I'm not entirely sure this That you can actually But well, it's a totally different point to to tie this to the I mean that that would of course require custom implementation in terms of like, okay A cutoff for the velocity and then ignore the But you could think of some some stupid function even or whatever that you The harder you push the further you're being late Whatever All right So one note from my RC from Fampu you says that the recording feature is fully working and it's tested with a generic keyboard So thanks for that testing. There's also a follow-up question to the nested mute groups So Robin asked nested groups offers more flexibility consider group a snare and kick group two Or b being hi hat and cowbell group tree hi hat And symbols and then you kind of like group these sub groups together in like super groups As in like b1 is a1 and a2 And b2 is a1 and a3 Basically have kicks and different like parts of a drum kit individually like groups into into Like larger groups to control the whole drum kit in different ways like Yeah, I think like your scenes feature maybe covers part of this in a way at least in a different way Um, you can't do that stuff without hierarchy. Anyway, hi hat calcium. Yeah, okay. Yeah Is it is it actually because originally from what I remembered it was nested mute groups So is it tied to the mute group functionality or rather the scene that things that belong together because I can of course remember It makes sense like you trigger one if you think of Not global Scene groups in terms of where you just turn on the groups and turn everything else off Um, it would make sense to have like a local subgroup turn that on turn on another local subgroup on and then have some super group Like that. Um, yeah Yeah, exactly and then turn like all of the subgroups on but with a with a mute group thing, um Which conceptually is like to okay Uh You can't even or there is no concept for triggering a mute group From what we've been thinking about it. Like it's there's just like you trigger one of the clips inside of the group and the function is That it turns off all the others So in in case of of nested. I don't know what the yeah want to do So but I'm assuming that uh, we're talking about like the other sort of Group not mute groups, but I think it's a scene thing that's Yeah But but because maybe they're dual in a mathematical sense or But the mute group they are really really really important on stage because if you have two or three different baseline You never ever want to have all the three playing at the same time since the sound engineer is crying and Uh, everybody's going out. So Um Yes, small addition to the the total point thing like the use case. I'm thinking of is is just being able to start and stop stuff At the moment and have the the computer understand that you want it to be actually in sync So so you're not consciously thinking. Oh, I was a little bit late. So I'll hit it a bit harder Is that you're the only thing you're thinking is I want my things to start now And like usually people who are used to loops They just do it a bit earlier because that's how they've been trained. Like otherwise It doesn't work, but that's actually not a natural way of making music. That's that's You have to consciously spend a little bit of brain power to Oh have to be a bit earlier Whereas it would be nice if you could just you know be in the moment be just I'm sure there are some case for that but Um In that case you are you are arranging your song on the fly. So you are thinking about Many loops at the same time. So you say, okay, I want of this part with this part with this part so Yeah, maybe you might want to trigger all them at the same time, but actually you don't need you can just Also, I think a key thing is like The way that that the loops are used in this setup So the the concept how I understand it is or at least how we're using it and mostly the way we were thinking about is You rather have longer loops that don't resemble like One snare beat or whatever or one one sound that you want to play instantly or or whatever But rather a very long period of um, like maybe even a A part of a song Like eight bars or so and those are really long time spans and And the way that vince is using them from the the way I know understand it is mostly um Okay, there's the part and then you can react to the crowd in a way. Okay, they're really You notice they're responding to it So you're letting it run a little bit longer and at some point you decide Okay, and now I'm going to the b part or the next part whatever So this is a decision that is not very time critical in a way. You you just say, okay I'm hitting it now and this is just one small Action and mostly you're focusing on okay what what The micromanagement of the effects in a way of okay. I'm I'm Playing around with uh with uh With the effects and especially playing whatever that's that's the idea. So you you can I rent your song and prepare and do all the stuff at the same time. So you don't have to So for example, I want to change To the next part of the scene and then I can play with the guitar On the first so that's that's the idea. I think it's it's time more or less for lunch So if there's somebody has a really pressing question at hand, um, maybe one last or so Yeah, but I think it's it's we're all hungry just otherwise just come to us and yeah, you can come later. Yeah okay, so Three o'clock is the next slot and then we're gonna have well here the sound lab and the seminar room. So here it's going to be At the main hall plug-in programming with the first and in the seminar room is pure data and the haptic hand-loop things And essential aspects of mixing in the sound lab